We have a couple of users who are editing videos in Adobe Premier and collaborating on the same video, and obviously due to the pandemic they are working from home.
We have set them up with OneDrive and SharePoint so the source files sync to the cloud, and they can make the files they need available locally on their hard drives when required to work on a project, but they are not happy with this solution. They have tried saving the files to a Windows network drive and accessing them over the VPN, but obviously that's worked terribly. So they have come to us to ask for another solution.
So I'm wondering what other people are doing in your companies? I'm hoping there is some sort of best practise out there, but I'm guessing most video production is done by small freelance companies who don't have the resources to work from home and are probably working in a small office somewhere and hoping they don't catch COVID. But I'm hoping someone has implemented something that is working well.
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Team Projects is the form of Premiere workflow you need to use, Ann is correct about that.
As to supplying media ... TP has very specific and different media management than "stand-alone" projects. The "owner/creator" of the project adds media via typical import/ingest processes. Everyone else links to the media as available to their system through the Edit/Team Projects/Media Management dialog box. Always.
My partner is in Cape Town, SA. I'm in a small town in western Oregon, USA. We are working via the LucidLink transport service, and they are parking our shared media/files on the Amazon S3 servers in London. And it works pretty well.
LucidLink creates a 'virtual drive' on the local computer that is a re-creation of the actual files layout on the real servers. And our computers access the data (heavily encrpted I might note) directly.
It works amazingly well for most things. And is vastly superior to Dropbox, WeTransfer and a couple other things we tried.
You should also go check out the Team Projects forum on these Adobe user forums. Very specialized help which you will need, and a couple staffers from the development team for TP PrPro check in daily over there.
As do I.
Thanks for that, good to know the performance is up to scratch for the cloud storage. What sort of speed internet connection do you need?
As fast as possible for media online storage. Pretty good if it's just the project being in the Adobe CC cloud (which is where the project files live for TP work).
Some options to consider in addition to Adobe Team Projects and still be using Premiere Pro:
One of the bigger advantages in using Adobe's TeamProjects version is catching and resolving the changes in projects worked on simultaneously by different editors. This is caught and handled beautifully and simply in TP, and can be a right pain if not working TP on the same project.
TP media management is different and can be a right pain if someone doesn't follow proper TP practices. Yea, I've been the person that screwed up a project and had to sort the mess I created out. NOT pretty. But once you know to NEVER EVER EVER use the normal import/ingest processes unless you are the Creator of that TP, it's fine.
Leaving one with the biggest problem being getting the same media everywhere.
what I would love is a solution similar to what was available in fcp7 where clients could "watch" over my shoulder as I edited, viewing either the source or canvas remotely. You needed a decent internet connection but nothing too taxing and the quality was decent. And it was rocksolid. Apple of course broke the feature in an OS update (just another reason I hate apple). I've worked remotely with clients watching via zoom and teamviewer and supervised remote editors this way, but the results are mediocre to say the least.
iChat Theater in Final Cut Pro classic was amazing. I believe Apple deliberately deprecated it as they didn't plan to support it with AV Foundation Frameworks.
Sofi Marshall came up with a pretty slick way of re-creating something like it using Blackmagic Design's Web Presenter (it turns HDMI input into a web cam that can be selected in video converencing software like Zoom):
THE ULTIMATE REAL-TIME REMOTE EDITING WORKFLOW (THAT WON’T BREAK THE BANK)
Since Sofi wrote that blog, Blackmagic had updated the Web Presenter as well as added the capability to one of it's smaller video monitor/field recorders.
I found a modified version of what Sofi came up with where you route the HDMI-out of Premiere Pro on your video workstation to the web cam USB-in for the workstation to the Zoom call on the workstaion and then join the Zoom call via another device to work pretty well. Not nearly as easy or even nice as iChat Theater was, but a lot of what set Apple's solutions apart back in the Final Cut Studio days are lost to time.
That would be a way of sharing the screen, right? I'm not seeing that as something where both ends of the communication can be editing in Premiere Pro on the same project at the same time as with Team Projects. Of course, TP is for editors working on the same project at the same time from different locations.
Having the director or the DP "sitting in" on the discussion is not really what TP is about. Different process.
not the same at all, but very frustrating that a feature that worked well over 10 years ago on much slower internet and much slower machines seems to be impossible now... Will explore Warren Heaton's suggestions. After ichat preview died I sometimes set up a webcam pointing at my monitor which displayed the full screen video. Was a real pain, and almost not worth it... But when a client needed to watch as I edited but was 100 miles or more away, it kind of worked.
Colorists, who typically have worked client-attended sessions, have had a tough time trying every service in the book. Some of them quite expensive actually. Trying to get low latency and some sense of color managment over the system for real-time interactions on the grade.
Warren, this sounds great and a reasonable investment. I'm in NYC and just got a job with a client in Florida. We worked in FCP7 with the Ichat Preview feature many years ago and he just asked if we could still work that way.
hey Warren, just had a thought. why not just use the blackmagic atem mini (for all of $300). I've worked with the atem mini pro to do live switching/streaming, so don't think there's any reason not to use it for this workflow. If I remember correctly, the pc/mac that the minipro is connected to will see the output of the atem as a webcam... and you can connect an hdmi cable from your premiere system directly the the atem...
I'm using a Mini Pro also. Streaming/webcam/recording tutorials, it's a HANDY device. My only regret is not getting the next one up to BOTH stream and record at the same time.
so Neil, you think the atem would work for my purposes?
In Windows. I can duplicate my main workflow screen or reference monitor screen to the little Elecrow monitor that both Windows sees but is connected to the output HDMI of the Atem Mini Pro. Then in OBS, run a virtual camera seeing that monitor, and either Zoom or whatever that OBS output.
so that's not your edit machine? I'm guessing that I'll need 2 computers to make this work, one for premiere and one for OBS/zoom? Be great if I could do this with just one computer.... (I can dream can't I?)
so I've successfully set this up using the blackmagic intensity pro usb3 shuttle. I'm working on a windows machine with a gtx 1060 display card and I've attached a displayport to hdmi cable to the window machine and fed that to the hdmi input on the intensity shuttle. I've got the 2nd display set up as my full screen playback in premiere. I change the zoom video and audio inputs to the blackmagic intensity. And just tested it with the client and all seems good. at this point we're going to keep talking on our phones. seems simpler than trying to integrate our voices ....
The users internet at home is measuring roughly 50mpbs download 10 mpbs upload, with a ping of around 10.
Would this be sufficent to use Adobe Premier Teams and Creative Cloud files?
That might work for the project files, which are handled and stored via Adobe's Cloud ... though the upload especially is worrisome.
No media living on a cloud service would work at that speed, they'd need it local on their machine.
upload and download, compression ( time ) and comprehensive product ( story 😞
I just finished reading 'the mark of zorro' book.
the protagonist girl was enamored of zorro due to his actions, bravado to stop bad people from oppressing people in LA.
all the dialogue in the book was this:
girl to zorro: upload fast
zorro to girl: download slow and secretive ( mask )
social and political plot and subplots: live in harmony and honestly with rich people making sure regular people were not maltreated.
( zorro was a cabellero and managed to clean up the neighborhood, with his ethics shared with fellows of the same morality basically )
If you think you can tell a story and work collaborately with others, think about what happens when you have too many cooks in the kitchen.
If you want to play and have fun and never in your life make a tv commercial worth national distribution or a movie for distribution, just keep trying to find a new way to edit ( live ) your iphone videos.
I can't believe how ridiculous this conversation is about.
you want to share stuff , send SSD's and hard drives via overnight mail delivery and they send you the stuff back the next day after they do what they want ( presumably cause you managed with words over the phone, storyboards and script revisions ) to get back what you invision... if you are the main chef.
jeez, what a mish mash of trash this is becoming.. stay tuned for another episode of " america's got talent'
are you directing this at ME!!!! (outrage is purely joking) for me this is about allowing a client to watch me editing which although not always ideal, is sometimes necessary. They are not doing any editing just reviewing edits as they happen and helping select ins and outs, etc. This is one of the ways I've always worked but over the last year in particular meeting with the client in person is not always an option. I've known editors who refuse to work with the client in the room, but sometimes that's not the way the foodchain works. Editors as far as I know, never get final cut... and sometimes the best way to work is to involve the director or other client in to the edit room so they have to take responsibility for the choices that are made instead of just saying "make it better."
In this time, it ain't that gloried days of yesteryear no more. Not hardly. Pretty unbelievable how much things changed over the last year.
Remote collaboration has been the main process for much ... really most ... pro video work over the last year. The pro colorists I work with daily from all over the world have been either working at home or ... for a few ... as they're about the only one in their shop, their shop. These are the people working the main commercials for b-cast, for the movies, and for the major streaming services like Netflix and Disney. This ain't YouTube work. Period.
But with no client attended sessions in person. Yet their clients need to watch the work being done and comment as is usual and necessary. So they've been trying every remote service possible, checking for reliability, security, latency, and possible color managment controls. As have the editors and VFX and sound people.
The entire post production chain has been mostly remote working ... period. Yet the directors and DPs need to see what the editors are doing ... what the VFX folk are doing ... what the colorists are doing ... what sound is doing. ... in real-time, just as if they were all in the same facility. And security needs to be up to the task.
So files are being transferred online like never before, with highly encrypted services like LucidLink. Which Adobe and LucidLink have hooked up for my partner in Cape Town SA and myself in Oregon. There are several other similar services, including through Frame.io and various sources.
For some projects, you can even work with online asset storage. Mo and I have worked some things where the assets are on an Amazon S3 server in London, seen by our computers as a virtual local drive. We've been able to actually work in this situation where the assets are not physically present on our systems ... our system is just tricked into thinking it suddenly has this other massive drive attached. And PrPro and Ae and MediaEncoder work with the media living in London as if it was here. Occasionally if the 'net slows for a moment, it can stutter. But it's been pretty amazing.
And quite a few of my colorist pals have bought a bunch of newer iPads, there's a particular model that they can modify some internal settings and the things actually look pretty close to their in-suite Flanders reference monitors. They have those delivered for use by the client while they're working on the session, with the client sitting in their own place, and talking either via phone or the particular 'net service they're sending visual over. This because of course getting the clients seeing something even close to their reference monitors "remote" is nearly impossible.
A project can have too many cooks in the kitchen be it client-attended or not.
It's usually the client who determines if and when the edit is client attended. When it comes to completing a fine edit or a color session quickly, having the client there in-person (currently remotely, of course), gets the project completed in time for whatever deadlines are in place. Also, it should mean a higher pay rate, be it project-based, weekly, daily, or hourly.
That said, I've come to really appreciate Frame.IO for client review. With ProRes and Safari on macOS or iOS, color representation is excellent and perhaps most importantly, feedback is right there in the comments.